At 58 pages, this year’s a-n Degree Shows Guide is the biggest yet and features interviews with artist Bedwyr Williams and mima director Alistair Hudson, plus contributions from artists including Ruth Ewan, George Barber and Marianna Simnett. Available on issuu and as downloadable pdf.
Archive - a-n The Artists Information Company
50-page Degree Shows Guide 2015 featuring more than 75 forthcoming shows across the UK, plus perspectives from artists, curators, academics and graduating students on what artist Bob and Roberta Smith refers to as an “incredible rite of passage”. Available on issuu or as pdf.
Featuring more than 60 forthcoming shows across the UK, plus perspectives on this vital and exciting time from artists, curators, academics and graduating students. Available as a flip-page version on digital publishing platform issuu.
An artwork by Kevin Hunt created as part of Signpost that aims to draw attention to some of the most superb activity being facilitated by emerging independent artists and curators right now in the UK.
2013 Degrees publication highlighting the best graduate art and design shows around the UK.Downloadable PDF version [size 6 MB]. Requires PDF reader.Issue also available in flip-page format (requires Flash) – including non-Flash version for mobile devices.
Over the course of four years, artists, curators and writers were invited to select blogs from the a-n site. Their choices highlights the range and depth of practice discussed on a-n’s artists’ blogging platform at that time.
Deborah Smith explores modes of dissemination for contemporary cultural practices. Includes introduction from guest editor Smith, and article contributions from William Davies, Maria Fusco, Adam Sutherland, Sally O’Reilly, Sacha Craddock and Rob Wilson. From the a-n Collections series. Pdf [size: […]
In 1999 John Carson made a passionate call for a more rigorous approach to arming graduating art students with knowledge of where their work and practice fitted within the wider world and interfaced with audiences. Sarah Rowles, commissioned by a-n to research the state of professional practice provision on BA fine and applied art courses, offers a perspective on the situation now.
Special issue: the last a-n Magazine. Then & Now features on Professional practice, Collaboration and Artist-led activity highlight a-n’s enduring concerns and wealth of intelligence in our archive; interview with Mag coordinator Chris Brown; Kevin Hunt selects reviews from Glasgow […]
Critical commentary and contextualisation of contemporary art exhibitions and events across the UK and beyond. Read, comment and post your own reviews at www.a-n.co.uk/interface. This month Kevin Hunt goes to Glasgow International Festival of Visual Art (GI) and selects reviews from Interface and beyond, giving a taster of the great things going on in the city and across Scotland.
Highlighting a-n’s long-running interests and the wealth of historical knowledge held in our archive.
Here, we profile a selection of courses offering postgraduate level study for artists seeking to develop their practice further within creative, supportive and critically challenging environments.
Artist S Mark Gubb talks to Magazine Coordinator Chris Brown as he prepares the last ever issue of a-n Magazine.
We’re proud of what a-n Magazine has achieved over its thirty-two years. On the occasion of the last print edition we invited many of our collaborators and contributors to help us celebrate and mark this moment by giving us a ‘few words’ – a short testimonial of what a-n means to them. Here, they reflect on our significant role for artists and on the value of a-n Magazine, publications or initiatives.
Front: David Shrigley, What The Hell Are You Doing? originally featured as the cover image to What the Hell Are You Doing?: The Essential David Shrigley, published by Canongate, 2010. Back: David Shrigley, Progress.
“AN will be an open line communication shared by all interested parties. It has not the resources nor the wish to be a one-way information service. It will be a clearing house for practical information and a means of raising issues significant to visual artists. The format is not fixed and will adapt and change according to the response and opinions of artists.” So wrote founder Richard Padwick in the first ever issue, published in September 1980, price 35p.
A round-up of projects that explore approaches to making and siting art beyond conventional white cube spaces – from travelling fairgrounds and riverboat processions to site-responsive installations and public sculpture.
Although very many individuals now and in the past have given their best to or contributed hugely to a-n Magazine, with this the very last issue, I’d like to extend some special thanks: firstly to Gillian Nicol who started with […]
Woolgather are Leeds-based artists John Slemensek Annie Nelson and Chris Woodward. They founded the Woolgather Art Prize in 2011 ‘from a need to explore the artist’s role in society and to celebrate the creative lifestyle’.
Newtown-based gallery have announced the winners of its Open 2012 competition.
A selection of artists’ projects taking place through the summer.
With potential to replace the need for specialised and time-consuming grant applications or other more formal and traditional fundraising techniques, the phenomenon of crowd-funding has been quickly embraced by an increasing number of artists as a way to generate and distribute funds.
Unravelling the National Trust, devised by artist-run organisation Unravelled, is a three-year project taking place in Nymans House and Gardens; Uppark House and Garden in West Sussex; and The Vyne in Hampshire between 2012-14. It forms part of the Trust New Art programme taking place at selected National Trust properties across England.
First ever issue of a-n Magazine (September 1980) in downloadable PDF version [size 10 MB]. Requires PDF reader. Issue also available in flip-page format (requires Flash) – including non-Flash version for mobile devices.
A-n Magazine May 1998: Increasingly, interdisciplinary or collaborative working processes are being used by artists, both as a means of extending their knowledge and personal experience and to create partnerships in which artists move beyond the close confines of the art world and can more readily address social, political and environmental concerns, we asked six artists, for whom collaborative working is a driving force, to describe their approaches and concerns and to provide some analysis of the issues an questions which have arisen.